Frank
Belknap Long (1901-1994) was an early associate of H.P. Lovecraft, whom the
latter met through his involvement with the United Amateur Press Association,
around 1920. Long began publishing short
stories and poetry in amateur publications at this time, and the two became
friends.
According
to S.T. Joshi, the two were quite different in temperament and in world view, perhaps
in part due to their difference in age:
when they met, Long was just 19, while Lovecraft was 30. Long evidently went through ‘phases’ where
his enthusiasms shifted from avant-garde literature, to mediaeval Catholicism,
to Bolshevism—this material served as a basis for good natured debate between
the two on aesthetics, politics and philosophy.
In The H.P. Lovecraft Companion, Philip A,
Shreffler credits Long with writing one of the first Cthulhu Mythos inspired
stories, The Space Eaters
(1928). In this tale, Long’s characters ‘Howard’
and ‘Frank’ come up against an ancient entity that consumes its victims’ brains. The next year, Long published his well known Hounds of Tindalos, which makes use of a
device of Lovecraft’s for allowing trans-dimensional monsters to enter our world:
unusual geometric features in architecture, (see Lovecraft’s 1933 The Dreams in the Witch-House as well as
part III. of The Call of Cthulhu,
published in 1928).
Long
had an extensive free lance writing career spanning several decades. His work included numerous short stories,
novels, poetry, comic books and even a television script. Arkham House published the first collection
of his short fiction, The Hounds of
Tindalos, in 1946. Sadly, the man
died in poverty and was buried in a potter’s field. Friends later raised sufficient funds to have
his remains transferred to Woodlawn Cemetery in New York, where he was buried
not far from the graves of H.P. Lovecraft’s grandparents.
Frank
Belknap Long’s The Robert Empire was
published in 1934 in Astounding Stories. It is probably not one of his better stories,
but does contain elements that are interesting in terms of the time period in
which it was written. As in The Last Men (1934), ordinary humanity
is oppressed and returned to a primitive level of existence, this time by a
ruling class of robots. Technically
speaking, the robots Long describes are not automatons so much as cybernetic
contraptions operated by the human brains that have been surgically installed
in them. They are fellow humans who have
been enhanced technologically. There are
three hundred million of them, ruled over by the benevolent dictator and über-brain,
Calcon.
Lulan
and and Mago are a primitive woman and man both in the service of Calcon. They were physiologically incapable of
joining their fellow “Asian free brains” by having their brains amalgamated
with machinery. As in The Last Men, it is unclear why such
vastly all-powerful and super-intelligent overlords would need to have mere
human beings around at all, other than to pull levers and watch things unfold
on the “telluric screen”. The story
opens with Calcon watching Lulan dance before him for entertainment—despite being
made of metal, he has feelings for the woman, at least one. But so does Mago—who is more of a man, it
would seem. A romantic triangle forms.
(On
the front cover of the 1952 Avon Science
Fiction Reader No. 3, Lulan is depicted nearly au natural in front of a
leering robotic Calcon; in the text she is described as whirling about “and her
arms were rhythmically weaving serpents in the pale light.”)
The
rest of the plot is basically a version of the biblical tale of David and
Bathsheba, (see 2 Samuel 11: 1-27).
Aware of Mago’s love for Lulan, but unwilling to kill him outright,
Calcon contrives to put Mago in harm’s way by sending him off alone in a rocket
to fight the evil Great Brain. Readers
will want to keep notes: The “Asian free
brains” are at war with the Great Brain that rules another continent—presumably
North America. A final conflagration
involving a rocket attack on the volcano fortress in which the Great Brain
resides may end the conflict. But Mago
is not expected to survive the battle, per the scheming Calcon’s plans.
The
fate of humanity rests with Mago and his rocket mission. Humans will either have their individuality
absorbed and merged with the Great Brain, becoming mere “ganglion-flecked
filaments”, or have their entire brains surgically removed and placed inside
machines—maintaining their freedom, but with less of their humanity. (It is not much of a choice).
Calcon
and Lulan watch the battle on the telluric screen. Not only is Mago successful, but he survives
and returns in one piece to Lulan, much to Calcon’s dismay. And worse is in store for the old robot. The evil Great Brain, as a last gesture in
defeat, has sent a weapon of mass destruction—a vapor bomb—to the Asian
continent in a plane. Suddenly a
terrible yellow mist dissolves the “alugan” metal body cases that house all the
Asian free brains, revealing their all too human innards. There is some sympathy for Calcon as he
expires—he discovers too late “that the most glorious solace life can bestow
has been withheld from me.” Only the
ordinary humans survive the final battle.
It is clear at the end that Mago and Lulan are a new ‘Adam and Eve’.
Frank
Belknap Long’s The Last Men (1934)
also includes the ‘Adam and Eve’ motif; see Insects
Rule My World . The
Robert Empire is interesting to read as an early version of themes
addressed during the “Golden Age” of science fiction in the late 1930s and
1940s: technological dystopias, catastrophic
war, human identity in the face of mechanization, future totalitarianisms, robotics, and what we would
call weapons of mass destruction. There
is also a prototype for television, the “telluric screen”: enormous transmitters send waves of “photostatic
energy around the world” which bounce back and are transformed into visual
images.
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